ASSIGNMENT

HBES4203
SOUTHEAST ASIAN CULTURAL PRODUCTION

NAME: NGUYEN NGOC HAI DANG

ID: 201401074

CLASS: 20BOESO1

EMAIL: nguyenngochaidang754@gmail.com

LECTOR: VO TRAN MINH HIEU

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Table of Contents
Task 1: ........................................................................................................................................3
Task 2: ........................................................................................................................................4
Task 3: ........................................................................................................................................5
Historical context: ...................................................................................................................6
1/ What historical events are mentioned or implied in the novel? ........................................6
2/ How does the author use historical facts and details to create a realistic setting and
atmosphere? ........................................................................................................................6
3/ How does the author use historical references and symbols to convey her themes and
messages? ...........................................................................................................................6
4/ How does the novel compare or contrast with other historical sources or accounts of the
same period? .......................................................................................................................7

2. Both Zhong and Saur speak of the uneasy relationship between tradition and historical
development. Do you think that traditions impede historical development? How about traditions
that do help your nation’s progress or help in asserting your cultural identity? (page 47 - Study
guide) .....................................................................................................................................7

8. What is your view or your culture’s view of family and kin relations? (page 49 - Study guide)
...............................................................................................................................................8
Task 4: ........................................................................................................................................8
Reference: ................................................................................................................................. 10

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Task 1:
No Parking On Odd Days, a monodrama by Kuo Pao Kun published in 1986, encourages reflection
on concerns of societal conformity and bureaucratic rigidity. Kuo presents a series of tiny conflicts
between a person and a bureaucracy over parking fines without making judgments about who is
right or wrong. However, by outlining the contrast between free will and bureaucratic logic, Kuo
may be making a social commentary on societal conformity and bureaucratization in general
(National University of Singapore, 2014). In this essay, I'll define the terms "we" and "we accept
too much" from the play as well as share my reactions.

No Parking On Odd Days relates the tale of the main character's and his son's three battles against
parking tickets. Double standards are present in the first instance. While some of the government-
assigned parking places are only three meters from the intersection, the protagonist is charged with
dangerous parking when his automobile is determined to be too close to the intersection at a
distance of six meters. The second case dramatizes the confusing parking fee schedules. Drivers
are punished for being confused by the arbitrary charge collection method because some public
parking lots require payment for full hours while others just permit payment for a portion of an
hour. The third involves signs that are deceptive. The vehicles are fined for following the closest
sign when the parking directions on one sign are contradicted by another sign that is far away. The
protagonist in the courtroom wins the argument, yet he will ultimately lose the case because of the
judge's "unnecessary honesty" in making his ruling (Shen, L., 2015).

To answer "we accept too much" means the people's tolerance for the absurdity and oppression of
the ruling class. Ordinary people can only file lawsuits, but we don't know if the people in power
handle them or not. We can clearly see the irresponsibility and confusion in the way they arrange
parking areas and adjudicate violations in the dialogue: "On the way here, I saw many roads
drawing public parking lots. plus near the road junction Some are not even 3 meters there Yolo,
we measure, you know Are they all wrong? Yes, I'm sure you measure Yes, I did. If not, you can
measure yourself." With arguments and pressure from the controller, a large part of the people and
their own perceptions have accepted and obeyed the regulations that may be inappropriate and
wrong. Almost all give up on the dispute when they hear the sentence: "Why do not you go and
talk to the traffic court judge or talk to the relevant authorities about their illegal behavior? Do you
know? See, you can ignore this ticket and we will send you a summons on due notice."

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To be honest, after I watched Kuo Pao Kun's No Parking On Odd Days, I was immediately
reminded of the reality of where I live. I laughed when I saw that play because it is in fact a serious
problem in today's society. In fact, most people have a house with a car but not all houses have
enough space to build a garage in their house and they have to park their car in front of the house
because a car is very big. It is absurd that sometimes that very thing is punished by people with
powers such as urban order management. Argue with them why not open a public parking lot and
all is still a silence. Personally, I have been fined several times and really feel "out of place" when
a citizen gives a personal opinion, it is only recorded but never done by the authorities who have
capable of doing it.

Task 2:
Kuo Pao Kun's Singaporean one-man piece The Coffin Is Too Big For The Hole. The grandson
realizes that his grandfather's casket is too huge for the burial place, causing a number of issues at
the funeral. He bargains with the stubborn authorities, but he has to compromise his grandfather's
dignity. This article will show how The Coffin Is Too Big For The Hole is an allegorical drama
that condemns Singapore's stifling bureaucracy and the loss of cultural identity and diversity due
to modernization and uniformity.

The drama uses the coffin and hole to symbolize the individual vs the country's structure. The
casket symbolizes the grandfather's nonconformist identity, which doesn't fit into the system's
mold. The modernity and homogenization of Singapore endanger his cultural heritage and artistic
expression, symbolized by the coffin. The hole symbolizes the system's repressive regulations that
don't respect individual ideals. The hole symbolizes Singapore's limited area and resources, which
force the government to impose stringent controls and limitations on the people. The fight between
the coffin and the hole symbolizes the struggle between the individual and the system in Singapore,
as the former seeks dignity and identity while the latter seeks order and efficiency. The conflict
shows the system's irrationality and inhumanity.

Politically, the play criticizes Singapore's burial policies. In the play, the government allocates
burial places for different religions and ethnicities, but the deceased cannot always use them. The
play implies that government policies are rigid and unresponsive to citizens' needs. "Here, the
government has designated this area for Muslims," the play states. Graves are the right depth,
length, and width. It's efficient but not adaptable enough for individual variances."

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Kuo Pao Kun's drama The Coffin Is Too Big For The Hole is a grandson's monologue on the
bizarre and frustrating process of burying his grandfather according to his wishes. The grandfather
represents Singapore's ostracized and suppressed voices that oppose popular culture and beliefs.
Play examples include: He lives alone in a little apartment with his antiques, books, paintings, and
Chinese opera albums. His grandson, a regular Singaporean office worker, lives an unorthodox
lifestyle. He also loves Chinese drama, which is dying in Singapore. These instances demonstrate
how the granddad rejects Singapore's pragmatic, efficient, and modern culture.

In conclusion, Kuo Pao Kun's The Coffin Is Too Big For The Hole is an allegorical drama on
Singapore's social and political issues, including lack of space, oppressive bureaucracy, loss of
cultural identity, and marginalization of alternative voices. After attending the performance, I
watched society's tiny efforts against dissent, which gave Singaporeans hope.

Task 3:
According to the search results, Duong Thu Huong's novel Paradise of the Blind was released in
1988. It is the first Vietnamese novel to be translated and published in North America. It takes
place against the backdrop of Land Reform, Vietnam's official state-run attempt at land
redistribution in the 1950s. It follows Hang, a young Vietnamese lady who works in a Russian
textile mill and travels to Moscow to see her uncle Chinh, a corrupt Communist party cadre who
has caused her family hardship.

Beard's five contexts are as follows:

• Historical context: The novel investigates the impact of historical events such as the Vietnam
War, Land Reform, and Error Rectification on the lives of regular Vietnamese people.

• Cultural context: The novel shows the beauty and harshness of Vietnamese culture, particularly
Confucian ideals that determine women's and men's positions in society.

• Political context: The novel attacks the Communist government for its violence, corruption, and
deceit, as well as the disillusionment and subjugation of its subjects.

• The novel depicts the social changes and challenges that Vietnam faces as it transforms from a
traditional to a contemporary society, such as urbanization, migration, poverty, and inequality.

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• Personal context: The novel is based on the author's own experiences and perspectives as a former
head of a Communist youth brigade who became a dissident writer and was imprisoned for
criticizing the state.

Historical context:

1/ What historical events are mentioned or implied in the novel?

Several historical events that affected Vietnam's history are mentioned or implied in the work,
including The Vietnam War (1955-1975), which separated the country into North and South
Vietnam and entailed foreign intervention from the United States, China, and the Soviet Union.

These events have a variety of effects on the characters and their actions, such as:

- Hang's father, Ton, is forced to quit his town and abandon his son.

2/ How does the author use historical facts and details to create a realistic setting and
atmosphere?
The author creates a realistic setting and mood by: - Describing the physical and social conditions
of Vietnam at various times, such as poverty, famine, corruption, violence, propaganda,
censorship, repression, migration, urbanization, and so on.

- Incorporating historical figures, events, documents, slogans, songs, and so on, such as how Ton's
love for Que as a landlord's son is doomed by his social status; how his role in her dispossession
fuels Tam's resentment for Chinh; how Que's loyalty to Chinh is tested by his exploitation; and so
on.

3/ How does the author use historical references and symbols to convey her themes and
messages?
The author conveys her ideas and messages through historical references and symbols:

- Using food as a symbol of human expression and cultural identity contrasts with the
dehumanization and standardization of history.

- Using duckweed blossoms as a metaphor for the beauty and harshness of Vietnamese culture,
which influences the destiny of the characters.

- Hang's childhood memories are obscured by fog, indicating her difficulty comprehending and
embracing her history.

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- Hang's future vision is shrouded by fog, expressing her indecision and anxiety about her fate.

4/ How does the novel compare or contrast with other historical sources or accounts of the
same period?
The book contrasts or compares with other historical sources or views of the same period by:

- Providing a personal and intimate viewpoint on historical events that are frequently lacking or
downplayed in official or mainstream narratives. The novel focuses on the lives and feelings of
regular people, particularly women, who are impacted by history but have little or no say or control
over it.

- Contesting and critiquing historical narratives promoted or imposed by the Communist

government or other dominant forces.

The story highlights the shortcomings and failings of Communist doctrine and practices such as
Land Reform, the Cultural Revolution, and the Doi Moi. It depicts the Communist leaders' and
cadres' corruption, tyranny, and hypocrisy.

- Offering a different and hopeful view of history based on human values and cultural diversity.

The story honors the Vietnamese people's tenacity and ingenuity, particularly women, who
preserve their identity and dignity via their traditions, customs, arts, and cuisines. The novel also
recognizes the possibilities of change and choice for the younger generation, such as Hang, who
can break free from history's cycle of suffering and sacrifice.

Based on the articles, answer the following questions:

2. Both Zhong and Saur speak of the uneasy relationship between tradition and historical
development. Do you think that traditions impede historical development? How about
traditions that do help your nation’s progress or help in asserting your cultural identity?
(page 47 - Study guide)
- Depending on the context, the relationship between tradition and historical progression is
complex and variable. In some instances, traditions may hinder historical development if they are
rigorous and inflexible, whereas, in others, traditions can aid in preserving cultural identity and
fostering a sense of continuity and stability. Viet Nam's development process is significantly

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influenced by the culture at every stage. For development to be relevant and responsive, both the
tangible and intangible dimensions of culture must receive adequate consideration. The objective
is to make development efforts culturally sensitive and to completely exploit the positive potentials
of culture to propel and accelerate development while avoiding any negative cultural factors.

8. What is your view or your culture’s view of family and kin relations? (page 49 - Study
guide)
- In Vietnam, family is the most important aspect of existence. It is significantly more
interdependent and cohesive than many Western cultures are accustomed to. Frequently, the
cohesion and health of the family unit are of paramount importance. The "family unit" typically
encompasses a larger network of relationships. Aunts, uncles, grandparents, and other extended
family members frequently have close relationships and serve as a central source of support. The
Vietnamese typically have a strong sense of belonging and family loyalty. Age is the primary
determinant of a person's level of respect and responsibility within the family system.

Task 4:
Nang Nak (1999) and Mae Nak (2005) are two films based on the Thai horror legend Mae Nak
Phra Khanong, also known as simply Mae Nak. Mae Nak is a mother who gives birth and raises
her child alone. According to legend, this is a genuine story from the nineteenth century. The
parallels and differences between the two films will be highlighted in this essay.

The first paragraph provides a synopsis of the two films. Nang Nak (1999) is a Thai film about a
loyal ghost wife and her husband, who has no idea she is dead. The film is set in the 1800s, when
Mak, a villager, leaves his pregnant wife Nak at home to fight in the war. He survives the conflict,
but Nak and their child perish after childbirth. He returns to his house and acts as if they are still
alive until he hears the truth from his friend and the other locals. Nak's ghost refuses to let him go
and murders everybody who attempts to tell him or take him away from her. A prominent monk
appears and assists Mak in breaking free from Mak's spirit. Nak recognizes her error and releases
him, expecting to see him again in the next world. Mae Nak (2005) is a Thai film that takes a
modern spin on the concept of a ghost wife that haunts her husband. The film takes place in
modern-day Bangkok, with flashbacks to the past. Mak, a young guy, and his girlfriend, Nak,
purchase an old house in Phrakhanong that once belonged to Mae Nak, a woman who died in
childbirth and became a ghost. They also obtain an antique brooch with a bit of Mae Nak's skull.

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Mae Nak's spirit shields them from a greedy real estate agent and some thieves, but she also has
some expectations. Mak is put into a coma following an accident, and Nak must locate Mae Nak's
body and use the brooch to repair her skull. Nak frees Mak from Mae Nak's ghost and appeases
her spirit with the help of a monk.

There are several parallels in the first one: Both films are based on the Thai mythology of Mae
Nak Phra Khanong, a woman who died during childbirth and turned into a ghost who plagued her
husband. Both films are horror romances that deal with themes of love, devotion, and death. The
major characters in all films are the same: Nak, the ghost wife; Mak, the husband; and Som, a
Buddhist monk who tries to help Mak. There are some distinctions in the second film, such as the
fact that Nang Nak 1999 is directed by Nonzee Nimibutr and has a more realistic and creative
aesthetic. Mark Duffield directed Mae Nak 2005, which has a more modern and commercial
aesthetic. Nang Nak 1999 is set in the late nineteenth century under King Rama IV's reign. Mae
Nak 2005 takes place in the present day, yet there are flashbacks to the past. Nang Nak 1999
closely follows the original legend and has a devastating finish. Mae Nak 2005 modifies the legend
and offers a happier conclusion. The female ghosts of Thai cinema drew on imaginative language
and drawn from symbolic symbols, making them emblems of a monstrous feminine sorrow that
becomes approachable and intelligible. Although this relationship to archetypal images
characterized all of the previously described Thai New Wave films, it was especially intense when
female ghosts were featured as the cornerstone vital to the unfolding of a sorrowful, unreal plot.
Subversion, death, loss, sadness, desire and failure, cannibalism. All of these phrases have been
used to define melancholy across the centuries and nations and from the most diverse sources. All
of these phrases can also be used to describe Nang Nak and Mae Nak's emotional state.

In conclusion, the art and cinematography in both films improved from 1999 to 2005. The plot and
content of the 2005 film differ slightly from the original 1999 version, according to mythology.
However, it is the modifications that make the film more terrifying and exciting.

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Reference:
- Tan, Corrie. 2014. Classic Singapore plays #4 - The Coffin Is Too Big For The Hole. The Straits
Times. Post at: https://www.straitstimes.com/lifestyle/entertainment/classic-singapore-plays-4-
the-coffin-is-too-big-for-the-hole

- Yong, Carmen. n.d. The Coffin Is Too Big For The Hole. Scribd. Post at:
https://www.scribd.com/document/142561359/The-Coffin-is-Too-Big-for-the-Hole#

- NLD Online Repository of Artistic Works( NORA). 2004. The Coffin is too big for the hole.
Post at: https://eresources.nlb.gov.sg/arts/website/contents/ArticleDetails.aspx?Id=12bc780d-
4d15-4f1d-9dd3-9fb19da54787

- The information is taken from Anti Essays. n.d. The CoffinIs Too Big for the Hole. Post at: The
Coffin Is Too Big for the Hole - 1751 Words | AntiEssays

- Esplanade Theatre Studio and Huayi 2010 Festival Commission: SCENES. 2010. The Coffin is
Too Big for the Hole. Dram box. Post at: THE COFFIN IS TOO BIG FOR THE HOLE ::
DRAMA BOX LTD

- Students of the National University of Singapore. 2014. Kuo Pao Kun | No Parking On Odd Days.
Post at: https://threadingonthinline.weebly.com/blog/kuo-pao-kun-no-parking-on-odd-days

- Shen, L. (2015). Decoding Kuo Pao Kun: a close reading of no parking on odd days and the
coffin is too big for the hole. Asian Theatre Journal, 32(1), 280+.
https://link.gale.com/apps/doc/A420929623/AONE?u=googlescholar&sid=googleScholar&xid=
492e4a97

- Video watched at: https://youtu.be/hT9fGsDF8I8

- Critical Compilation Ed. Frank Northen Magill. (2015). Paradise of the Blind. eNotes.com. Post
at: https://www.enotes.com/topics/paradise-blind-thu-huong-duong/in-depth#

- Super Summary. (n.d). Paradise of the Blind Summary and Study Guide. Post at:
https://www.supersummary.com/paradise-of-the-blind/summary/

- "Paradise of the Blind ." Novels for Students. Retrieved May 25, 2023, from Encyclopedia.com:
https://www.encyclopedia.com/arts/educational-magazines/paradise-blind

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- Justice, W. (n.d). Traditions and Culture in Vietnam - International Living. Post at:
https://internationalliving.com/countries/vietnam/traditions-and-culture-in-
vietnam/#:~:text=Ancestor%20worship%20is%20widely%20practiced,use%20in%20the%20spir
it%20world.

- Primary Author Cultural Atlas Editors. (2016). Vietnamese Culture- Family. Post at:
https://culturalatlas.sbs.com.au/vietnamese-culture/vietnamese-culture-family

- Weiming, T. (2023). Confucianism. Encyclopedia Britannica.

https://www.britannica.com/topic/Confucianism

- Vietnam Online Travel Guide for the new decade. (n.d). Family Relationship in Vietnam. Post
at: https://www.vietnamonline.com/culture/family.html

- Carvalho, C and L.H. Wong. (1990-2023). Summaries: Nang Nak Plot. Post at:
https://www.imdb.com/title/tt0217680/plotsummary/#synopsis

- De Warrenne Pictures and Carvalho, C. (n.d).Summaries: Ghost of Mae Nak Plot. Post at:
https://www.imdb.com/title/tt0436359/plotsummary/

- Campoli, Alessandra (2015). A Ghostly Feminine Melancholy: Representing Decay And

Experiencing Loss In Thai Horror Films. Post at: http://oro.open.ac.uk/79574/1/silo.tips_2015-02-
campoli.pdf

- Film watched at: https://www.youtube.com/watch?v=ImwwHKVntuY

and https://www.youtube.com/watch?v=Y_aNsRkJaw8

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